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2012 Spanish Market | 3
4 | 2012 Spanish Market
Cover photo Luis Sánchez Saturno arlene Cisneros Sena 2012 Master’s award for Lifetime achievement honoree Cover design Deborah Villa Owner Robin Martin publisher Ginny Sohn Editor Rob Dean
S pa n i S h
Published july 22, 2012
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EDitORiaL Creative director Deborah Villa 986-3027, firstname.lastname@example.org Magazine editor Emily Drabanski Magazine design Linda Johnson Copy editor Sandy nelson aDVERtiSinG advertising director tamara hand 986-3007 aRt DEpaRtMEnt Manager Scott Fowler Dale Deforest, Elspeth hilbert advertising layout Rick artiaga aDVERtiSinG SaLES Kaycee Cantor, 995-3844 Mike Flores, 995-3840 Margaret henkels, 995-3820 Belinda hoschar, 995-3844 Cristina iverson, 995-3830 Stephanie Green, 995-3820 art trujillo, 995-3820 nationals account manager Rob newlin, 505-995-3841 email@example.com SyStEMS technology director Michael Campbell pRODuCtiOn Operations director al Waldron assistant production director tim Cramer prepress manager Dan Gomez press manager Larry Quintana packaging manager Brian Schultz DiStRiButiOn Circulation manager Michael Reichard Distribution coordinator Casey Brewer WEB Digital development Geoff Grammer www.santafenewmexican.com aDDRESS Office: 202 E. Marcy St. hours: 8 a.m.-5 p.m., Monday-Friday advertising information: 505-986-3082 Delivery: 505-986-3010, 800-873-3372 For copies of this magazine, call 428-7645 or email firstname.lastname@example.org.
Welcome letter spanish Colonial Arts society staff spanish Market Week spanish Market Week Calendar Volunteer Award bandstand entertainment Arlene Cisneros sena: Master’s Award for lifetime Achievement innovations Within Tradition booth locator Map / Park and Ride 2012 spanish Market Artist list Andrew Garcia: Poster Artist Copper engravings Collective joy Contemporary hispanic Market Contemporary hispanic Market Poster Artist: edward Gonzales Contemporary hispanic Market booth locator Map
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to the Spanish Colonial Arts Society’s 61st a nnual traDitional sPanish M arket, the oldest and largest juried Spanish Market in the United States.
The art you see at each booth is created by some of the most talented Hispanic artists in the country. Stop and talk to the artists, as they take great pride in sharing their knowledge of the traditional arts. The heritage represented by the art shown at Spanish Market runs deeply into the fabric of New Mexico culture. Each piece is handmade by an artist who often learned the art form as it was passed down from one or more family members. The artists use their talent and skill to create one-of-a-kind art pieces that you admire at the booth. By supporting the artists with a purchase, you and your family can enjoy the artwork for many years. Remember that commissions for a very personal piece are welcomed by the artists. The mission of the Spanish Colonial Arts Society extends to the Museum of Spanish Colonial Art. We invite you to visit the museum (750 Camino Lejo) on Museum Hill to view the eight exhibitions, including New Deal Art: CCC Furniture and Tinwork, and another display featuring the art of several current Spanish Market tin artists in the Spanish Market Artists Gallery. The society also offers art outreach programs for children in the local schools and at the museum, as well as art workshops and lectures for adults. Please join the society at the society tent during Spanish Market or online at www.spanishcolonial.org so you can enjoy all the membership benefits. We especially thank the Archdiocese of Santa Fe for the special Mass at 8 a.m. Sunday, where the artists are encouraged to bring a piece of art for a special blessing from the archbishop. Please join the artists at Mass and in the procession to the Plaza that follows. Thank you for attending the 2012 Spanish Market and celebrating the Hispanic artistic legacy of New Mexico with the artists, society staff and more than 300 volunteers. Your support allows this legacy to continue. Please plan to join us at the Winter Market on December 1 and 2 at the Santa Fe Community Convention Center. Donna PeDace, Executive Director Spanish Colonial Arts Society
Membership & PR
Spanish Market Director
Gift Shop / Admissions
Finance & Gift Shop Manager
Gift Shop / Admissions
Development Grant Writer
Gift Shop / Admissions
Gift Shop / Admissions
Robin Farwell Gavin
Museum of Spanish Colonial Art, Curator
Consultant, Special Projects
2012 Spanish Market
2012 Spanish Market | 7
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8 | 2012 Spanish Market
E x pa n d i n g
t h E E x p E ri E n c E
Spanish Market Week offers a wide range of activities
SomE pEoplE who had nEvEr viSitEd Santa FE bEForE aSkEd donna pEdacE, ExEcutivE dirEctor oF thE SpaniSh colonial artS SociEty, what ElSE thErE waS to do whEn thEy camE For SpaniSh markEt. “and i waS EaSily ablE to promiSE Far, Far morE than thEy had timE For,” pEdacE Said.
pedace believes many people have that same question, so her staff collaborated with other organizations to provide visitors with a centralized schedule of Spanish market week activities. “rather than us reinventing the wheel and filling the week with events that we would put together, it’s been a collaboration with other organizations and nonprofits in town that are doing things our visitors might be interested in participating in while they’re here,” pedace said. the society did initiate talks with chef John vollertsen, director of las cosas cooking School. “they want to not only encourage people to stay longer but also to extend the idea of the Spanish heritage to include other areas of the culture,” vollertsen said. “i thought it was a great idea. people who come to Spanish market are well traveled and come from all corners of the world, so it’s nice to be able to entertain them.” vollertsen is offering two special cooking classes that week, “new mexico Favorites” and “Spanish influence on new mexico’s norteño cookery.” “the classes will focus on how the Spanish culture influenced our local ingredients and cuisine and how local culture influenced Spanish cuisine,” he said. peyton wright gallery owner John wright Schaefer will give at least one lecture on collecting Spanish colonial art in the 21st century. “peyton wright is probably among the top three Spanish colonial art galleries in the Chef John Vollertsen country,” pedace said. wright Schaefer’s focus is on placing new mexico’s Spanish colonial art in the context of Spain’s new world empire. “this was the farthest outpost, but it was inextricably intertwined with other parts of the Spanish Empire in the new world,” wright Schaefer said. “there is a lineage and consistency maintained throughout the empire with notable flavoring and artistic elements of each region.” Schaefer said that museums, scholars and collectors around the world have recently shown an increased interest in Spanish colonial new world art, from which new mexico is notably absent. “that will change,” wright Schaefer said. “this northern territory will become an integral part of the study of new world Spanish colonial art. this is our heritage, and it is time it was recognized as a small but significant part of
By arin mckenna
new world Spanish colonial art.” legends Santa Fe presents Mestizo, an exhibit by nicholas herrera with guest artist Susan guevara. Mestizo, named for a person of Spanish and indigenous heritage, explores the artists’ own mixed heritage. herrera gives a talk at the gallery wednesday evening. patina gallery hosts an exhibit by contemporary Spanish jeweler Enric majoral. their feature event is a breakfast reception and talk about majoral and the impact of contemporary Spanish jewelry with co-owner allison barnett. “majoral is quite the renaissance designer,” co-owner ivan barnett said. “he does a range of very interesting things.” market week offers a feast for music lovers, as the Santa Fe opera, Santa Fe chamber music Festival and Santa Fe desert chorale all have several performances. desert chorale is offering one uniquely new mexican performance, “celebrating the centenary,” which features world premieres of three commissioned works representing the state’s three principal ethnicities. the program also features native american flutist ronald roybal. roybal, of tewa (pueblo) heritage and Spanish colonial descent, is a sixtime native american music award nominee. he performs a choral work by local composer John luther called Song of Blue Water, a tribute Photo Kitty LeaKen to the late tewa linguist and storyteller Esther martinez. the society’s own events include an artists’ luncheon and the market preview. and make time to visit the museum of Spanish colonial art during the week. “it’s a wonderful place to start, to learn, and then go out and see the contemporary artists,” pedace said. luncheon with the artists was a big hit when it was introduced last summer and again at winter market. “you get to know an artist and you have the opportunity to ask all those questions that we all want to ask but just don’t have time for,” pedace said. the event also features a brief question-and-answer period with all the artists present. tinwork, copper engraving, pottery, straw appliqué, retablos and weaving are some of the disciplines represented at this year’s luncheon.
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SPAnISH MArkeT Week eveNTS
S unday, J u ly 2 2
6 p.m. 6 p.m. noon 4 p.m. 8 p.m. 10 a.m. Nicholas Herrera’s #2 Mestizo, hand-carved wood, mixed media, 32" x 17" x 12" noon 5:30 p.m. 8:30 p.m. 10 a.m. Santa Fe Chamber Music Festival Santa Fe Chamber Music Festival Santa Fe Chamber Music Festival Museum of Spanish Colonial Art, talk and tour with curator Robin Farwell Gavin Santa Fe Desert Chorale, “Dancing the Mystery, Loretto Chapel ” Las Cosas Kitchen Shoppe, cooking class with chef John Vollertsen, “New Mexico Favorites” Spanish Colonial Arts Society, “Luncheon with the Artists” Legends Santa Fe, talk with featured artist Nicholas Herrera Santa Fe Opera, King Roger Las Cosas Kitchen Shoppe, cooking class with chef John Vollertsen, “Spanish Influence on New Mexico’s Norteño Cookery” Peyton Wright Gallery, lecture by John Wright Schaefer, “Collecting Spanish Colonial Art in the 21st Century, 989-9888 or peytonwright. ” com (check their website for additional Spanish Market Week events) Santa Fe Desert Chorale, “From Bach to the Beatles, St. Francis ” Cathedral Basilica Patina Gallery, breakfast reception and lecture by Allison Barnett on featured artist Enric Majoral, www.patina-gallery.com or 986-3432 Santa Fe Chamber Music Festival Spanish Market Preview, Santa Fe Community Convention Center Santa Fe Opera, Maometto II 61st Annual Spanish Market on the Plaza Spanish MarketYouth Awards Legends Santa Fe, Hispanic artists group show Santa Fe Chamber Music Festival Santa Fe Desert Chorale, “Celebrating the Centenary, New Mexico ” History Museum Santa Fe Opera, Arabella Spanish Market Mass, St. Francis Cathedral Basilica
M onday, J u ly 2 3 TueS day, J u ly 2 4
W e d n e S day, July 25
The popular “members only” market preview generates a spike in renewals every year. The event provides the best chance to see the artists’ finest work. Pedace estimated that 80 to 85 percent of the work shown at the preview is sold by 10 a.m. Saturday. Memberships can be purchased at the door. “The preview party is really the opportunity to meet with the artists and see the award-winning pieces before market itself. I think that’s where about half the people decide, ‘How early am I going to go and get in line? And for what?’” Pedace said. “It’s without a doubt our biggest social function. And I think the artists enjoy it more than the guests do.” The final day opens with the Spanish Market Mass at the St. Francis Cathedral Basilica. Artists enter the cathedral carrying artwork to be blessed by Archbishop Michael Sheehan, who presides over the Mass. The choir is joined by mariachi musicians for a joyous celebration of the liturgy. “It doesn’t matter if the visitors are from Pittsburgh or Las Cruces or Albuquerque; we’re just trying to help them understand how much there is to do in Santa Fe during just that one week,” Pedace said. “We want more visitors, we want them to stay longer and, for our artists, we hope they buy and take home a treasure.”
Th urS day, J u ly 2 6
noon & 6 p.m. Santa Fe Chamber Music Festival 4:30 p.m.
Fr iday, J u ly 2 7
9:30 a.m. 6 p.m. 7 p.m. 8:30 p.m. 8 a.m.-5 p.m.
S aTur day, J u ly 2 8
10 a.m. 5 p.m. 8 p.m. 8:30 p.m. 8 a.m.
D E TA I L S P
kicks off the weekend with its members-only preview party from 7 to 9 p.m. Friday (July 27) at the Santa Fe Community Convention Center, 201 W. Marcy Street. Spanish Colonial arts Society memberships can be purchased at the door. For membership information, call 982-2226, ext. 103. The Sponsor’s preview is at 6 p.m. for members at the $300 and more level. You must become a sponsor in advance. Spanish Market artists sell their work on the Santa Fe plaza from 8 a.m. to 5 p.m. Saturday (July 28) and 9:30 a.m. to 5 p.m. Sunday (July 29). admission is free. at 8 a.m. Sunday (July 29), a special Mass will be celebrated at the Cathedral Basilica of St. Francis, followed by a procession to the plaza.
T he 61 S T T r a DiT ioN a l Spa NiSh M a rk e T
A N I S H M A R K E T
S unday, J u ly 2 9
9:30 a.m.-5 p.m. 61st Annual Spanish Market on the Plaza Legends Santa Fe, Hispanic artists group show 6 p.m. Santa Fe Chamber Music Festival
TueSday- F r i day
The Screen will show foreign films: www.thescreensf.com
MuSeuM oF SpaniSh Colonial arT
750 Camino Lejo on Museum Hill, 10 a.m.-5 p.m. daily For information, www.spanishcolonial.org or 982-2226
For d eTa ilS a b ouT even TS, C o n TaC T The FolloW i n g
Las Cosas Cooking School Legends Santa Fe www.lascosascooking.com 983-5639 982-1890 988-2282 (877) 229-7184 www.legendssantafe.com
Save the DateS for Winter Market
Winter Night: Friday, November 30 Winter Market: Saturday, December 1 and Sunday, December 2 Check www.spanishcolonial.org in the fall for more details.
Santa Fe Chamber Music Festival Santa Fe Desert Chorale Santa Fe Opera
Tickets at 988-1234 or ticketssantafe.org. Concert previews at 7 p.m. www.santafeopera.org Spanish Colonial Arts Society www.spanishcolonial.org 982-2226
2012 Spanish Market
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2012 Spanish Market | 11
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Even though Lorna Ortiz Calles arrives at the Plaza at 6:30 a.m. to set up during the weekend of Spanish Market and works through the day until closing, she said that days spent at market fly by. Ortiz Calles has volunteered with the market since 2000 and last year won the Del Corazón Volunteer of the Year award. Ortiz Calles is a lifelong Santa Fean and longtime supporter of Spanish Market. Her children participated in the youth artist divisions, and while Ortiz Calles has assisted in the general market, her favorite part is working with the young artists and seeing them develop their skills. “All Youth Market artists are mentored,” Ortiz Calles explained. “The kids bring a piece they’re working on and have adult artists in their category help them and give them a different perspective about how to do things. … [The kids] are so involved in making their pieces and so anxious to learn from the adults.” In addition to supervising, checking in and assisting the young artists at the market each year, Ortiz Calles has worked on the education committee and the arts advocacy committee, which met a few years ago to re-evaluate market guidelines. Ortiz Calles emphasized that she’s there to assist in any way she can. As part of her work on the education committee, Ortiz Calles helped implement continuing education classes for adult market artists and worked with the community outreach program, which sent market artists into local schools. As for winning the Del Corazón award, Ortiz Calles said, “I was so honored and so surprised and still so surprised and humbled.” It’s easy to hear the pride in her voice when she talks about her years working for the market and the function of the Museum of Spanish Colonial Art, especially when she spoke about the importance of continuing art in the Spanish colonial style: “I can go to any museum in the world and I can see what happened, but [other museums] don’t have artists that are still a living part of the museum.” This sense of history extends to the youngest Spanish Market artists, too. “My family came here hundreds of years ago,” Ortiz Calles said, “and it’s exciting to see the kids learning about their culture and doing the same things that were done many years ago. [The young artists] realize that coming to New Mexico was not an easy thing, but we did all right, we survived.” A sense of community is perhaps the most important benefit of Ortiz Calles’ volunteering. “The market is a fantastic venue for Santa Fe,” she said. “When we go to Spanish Market, it’s like meeting your family all over again — artists and customers. It doesn’t make a difference whether you grew up here or not; it’s a reunion.” The 2012 outstanding volunteer will receive word of the recognition at the Members-only Preview Party at 7p.m. Friday (July 27) at the Santa Fe Community Convention Center. Memberships are available by calling 982-2226 before the event.
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12 2012 Spanish Market
Photo Emma Gavin
2012 Spanish Market | 13
celebrate good times,
Performers honor centennial year with dynamic entertainment mix
by arnold vigil
One of Chris Abeyta’s most creative and catchy songs, Salsa Chicana, has also become a staple in Sol Fire’s musical repertoire, although Amado and Buddy rearranged it and incorporated the styles of rhythm & blues, rock ‘n’ roll and flamenco.
private events and at Sadie’s in Albuquerque. To hear samples of their music, visit www.solfiremusic.com. Contrasting the modern-sounding rhythm of the Abeyta brothers will be the ever-popular Antonia Apodaca y Trio Jalapeño, many of whose folksy Northern New Mexican tunes were penned by the 88-year-old Apodaca, who learned how to play the accordion and guitar from her parents and other relatives. The feisty musician was raised in the Mora County village of Rociada, and she keeps alive the Northern New Mexico style of music through Spanish polkas; cunas, or old Spanish songs sung to babies; valses, which are romantic ballads; as well as some humorous redondos and inditas. The other members of Trio Jalapeño are Ray Casias and Bernardo Jaramillo. Magalnick is quick to point out that also sharing the stage with the musical groups will be many Latin-dance troupes, including colorful ballet folklórico dancers, flamenco dancers from the María Benítez Institute for Spanish Arts and Los Matachines Alcalde, which will perform the indigenous dances of the Northern New Mexico Hispanic and Native American communities. The tradition of the Matachines dance dates back to Spain in the late 1400s, when Christians drove the Moors out of the area. There are many variations of the masked
2012 Spanish Market
Photo left Gene Peach
Throughout the past century, and even hundreds of years before that, the historic Santa Fe hroughout Plaza has hosted more than its share of diversity, whether it is people of different cultures, official governments, animals or even technology. And although this year’s Traditional Spanish Market links the Plaza and its surrounding area to a specific genre of Hispanic arts, a lineup of performing artists scheduled to entertain market attendees is intended to offer a cross-sampling of New Mexican music from throughout New Mexico’s first 100 years as a state to celebrate its centennial year. “We wanted to bring to market an array of performers that span a hundred years,” said Maggie Magalnick, the director of the Traditional Spanish Market. “From the ballads of the past to the contemporary. That’s what we were looking for.” Indeed, the variety of Plaza Bandstand performers represents a wide span of time from the centuries-old Matachines dance to the distinctly Northern New Mexico sound of Antonia Apodaca y Trio Jalapeño to the modern smooth-sounding Latin rhythms of Sol Fire, among many others. The popular Darren y Calor band highlights the two-day music and dance extravaganza when it performs from 3 to 5 p.m. Saturday. Of course, the familiar sound of mariachi music will often resonate throughout the Plaza that weekend as well. A Mariachi Fiesta opens the bandstand performance schedule from 9 to 10 a.m. on Saturday, and after an 8 a.m., 90-minute Market Mass in the Cathedral Basilica of St. Francis of Assisi, a mariachi procession will lead churchgoers and others from the cathedral to the Plaza Bandstand. “A lot of the music has come up from different places, especially Mexico,” Magalnick said. “But all of the performers are New Mexicans.” Amado Abeyta, who along with his brother Buddy founded the locally popular group Sol Fire, said their father, Chris Abeyta, a musical legend on the local music scene and founder of the former popular Latin-dance band Lumbre del Sol, heavily influenced their music. The Abeyta brothers have rearranged many of their father’s songs but were careful to keep the Latin-sounding integrity. “We’re honored to do them (Chris’ songs), and he’s honored that we do them.” “There’s kind of two different versions out there,” Amado said, “and it’s kind of become an anthem for two generations.” And sometimes, he said, their father will join them onstage. “We grew up backstage at Dad’s concerts. We didn’t grow up in the traditional way — fishing, camping or hunting.” Sol Fire, which will take to the Plaza Bandstand on Sunday, July 29, from 1 to 2 p.m., plays regularly at local nightclubs, as well as at the burning of Zozobra, weddings,
SATURDAY, J U LY 2 8 9-10 a.m. 10-10:15 a.m 10:15-11 a.m. 11-Noon Noon-1 p.m. 1-2 p.m. 2-2:30 p.m. 3-5 p.m. Mariachi Fiesta, Centuries of Old Music From Mexico Greeting and Proclamation by Mayor David Coss Youth Market Awards Antonia Apodaca y Trio Jalapeño, Traditional Folk Music of New Mexico Los Matachines de El Rancho, Indigenous Dances of Hispanic and Native American Communities MichaelCombs,19th-&Early20th-CenturyNewMexicoMusic La Sociedad Colonial Española de Santa Fe, Native New Mexican Dances Darren Cordova y Calor, 20 Years of New Mexican Music Tradition
SUNDAY, JULY 29 8-9:30 a.m. 9:30-9:45 a.m. 9:45-10 a.m. 10-11 a.m. 11-Noon Noon-1 p.m. 1-2 p.m. 2-3 p.m. 3-4 p.m. 4-5 p.m. Market Mass at the Cathedral Basilica of St. Francis of Assisi Mariachi Procession from the Cathedral to the Plaza Bandstand Archbishop Award and Blessing of Market Mariachi Nuevo Sonidos, Music from the State of Jalisco, Mexico María Benítez Institute for Spanish Arts-Flamenco Next Generation, Exciting Flamenco Dancing Grupo Sangre de Cristo, Music of the Royal Road Through Northern Mexico and New Mexico Sol Fire, Merge of Rock With Pop, R&B and Latin Influences Baile Español, Spanish and Mexican Dances Nacha Mendez, Latin World Music Zia, Traditional Music of New Mexico
Photo Natalie GuillÉN
AntoniA ApodAcA SHE’S STILL HOT, HOT, HOT
By ARNoLD VIgIL
Whoever happens to be in the vicinity of the Plaza Bandstand from 11 a.m. to noon Saturday, July 28, whether planned or by coincidence, is in for a special treat. That’s when the legendary Antonia Apodaca, a giant in the genre of authentic Northern New Mexico music, takes the stage with her band,Trio Jalapeño, The colorful 88-year-old songwriter/musician, who plays the accordion and guitar while she sings mostly in Spanish about her long, illustrious life in New Mexico, has delighted audiences throughout her many decades from local dance halls and weddings to the state Roundhouse to the Smithsonian Folklife Festival and White House in Washington, D.C. And the most ardent of Apodaca’s fans know that she barely escaped with her life when her lifelong Mora County home in Rociada caught fire less than a week before Christmas 2010, while she was cooking eggs, chicharones and chile for breakfast. A gust of wind blew the hot chimney pipe over and started the roof on fire, and it spread so quickly that Apodaca could only save her accordion and guitar, which she happened to place at the door in preparation for a performance later that day. “It’s been so sad for me; I don’t have no business being there by myself, “ an animated Apodaca said of the house where she was born and raised and where she made a home with her late husband Maximilian Apodaca in 1979 after they returned from living in Wyoming. “I’m not that young. … I’m going into 89. If they rebuild it, they would have to pay somebody to live with me. ” Instead, Apodaca moved in with her son Max in nearby Las Vegas, and she is now on her own again in that city. She continues to perform and write songs — as long as someone picks her up and drives her to the gig. Apodaca said she is often asked to what she attributes her long life, health and upbeat outlook; she can’t help but burst into one of her own lyrics: “Chile in the morning, chile in the evening, chile at suppertime. Chile makes me happy, all the time. ” Talking with Apodaca is a delightful experience, as she seamlessly switches from English to Spanish to song to Spanish to Spanglish … well, you get it. Her cheerful disposition, talent and ease with an audience make her Saturday performance on the Plaza Bandstand an event not to be missed.
dance, but the popular version in New Mexico generally incorporates a theme of good versus evil and includes characters such as the devil, representing evil, and a little girl dressed in white or “la Malinche,” who represents good. Magalnick said this dance, which will be performed from noon to 1 p.m. Saturday, July 28, will be done in front of the Plaza Bandstand because of the space needed for the centuriesold pageant and the number of performers. Celebrating 20 years of performing music in the New Mexico tradition, Darren Cordova y Calor will close Saturday’s Plaza Bandstand lineup with a two-hour performance starting at 3 p.m. The popular Cordova, a former Taos city councilman and now the mayor of Taos, started his Calor band in 1993 and quickly became a staple of the New Mexico Spanish-music scene, winning multiple music awards over the years. More information is available online at www.darrencordovaycalor.com. Magalnick said the lineup of performance groups was picked by a committee made up of 10 people from the community, including Patricio Gonzales of KSWV-AM 810 radio, Traditional Spanish Market artists and staff members of the Spanish Colonial Arts Society. All of the musical events on the Plaza are free, as is the Traditional Spanish Market itself. She joked, however, “Parking is not part of that.”
Spanish Market 2 012
2012 Master’s Award for LifetiMe AchieveMent
Arlene Cisneros Sena’s faith brings divine inspiration to her work
Counting Her Blessings
By AdeLe MeLAnder-dAyton photos By Luis sÁnchez sAturno
santera; I’m not an artist,” Cisneros Sena said. “I really love the art form, but for me, it means much more than that. It’s where I was meant to be, it’s who I am and it’s how I know God blessed me.” (Santera is Spanish for a woman who is a maker of religious images, primarily saints.) Cisneros Sena has deep roots in Northern New Mexico. Her mother was from Costilla and her father was from Questa. Cisneros Sena was born in San Luis, Colorado, but this was a fluke: The family was on the way back from a trip to Colorado and Cisneros Sena arrived a bit early. She was very young when the family moved to Santa Fe. Cisneros Sena often describes herself as “nun-raised,” and she attended St. Anne’s (the school previously operated by the parish) through eighth grade. “I remember doing a lot of drawing and showing some artistic ability and being encouraged by a couple of the nuns,” Cisneros Sena said. She cites the holy cards with pictures and descriptions of saints that the nuns gave out at school as an inspiration behind her use of gold leaf. “Sometimes [my work] just has to sparkle back at me,” she said. Family and tradition are central to Cisneros Sena’s identity and her work. “My dad was always my champion and my first
Arlene Cisneros Sena’s home studio is like a well-lit, Saltillo-tiled jewel box. Crowded but not cluttered, the studio bursts with color, and it’s hard to take it all in at once. Framed Spanish Market posters line one wall, a small shrine occupies a corner, a vivid bouquet of Mexican paper flowers sits on a table and the painted wood panels of Sena’s in-progress piece for the Bishop of Gallup lean against the cabinets. Everything in this bright, quiet room, from the child’s-eye-level drawings that read “Nana” to the trays of paints and pigments, is saturated with the deep hues found in Sena’s work.
Cisneros Sena herself is at ease in her studio, quick to smile and perfectly put together, yet unfussy. She’s 2012’s recipient of the Master’s Award for Lifetime Achievement, and even a cursory investigation of her work reveals that the honor is welldeserved. This year marks Cisneros Sena’s 20th anniversary as an artist at Spanish Market, though she was a volunteer at the market for several years prior. Since beginning her journey as a santera, Cisneros Sena has been the market’s poster artist (in 1994), won first place at the market twice for her large retablos (in that category) and received many awards, including the Governor’s Award for Excellence in the Arts in 2010. She received the popular People’s Choice award at the 2011 winter market and at Spanish Market in 1998. Cisneros Sena’s altar screens (reredos) and retablos can be seen in houses of worship across New Mexico and Colorado (at the Cathedral Basilica of St. Francis of Assisi and Shrine of Our Lady of Guadalupe in Santa Fe, among several other churches). She even has a piece that’s part of the Vatican’s collection in Rome. In spite of the many awards that recognize her artistic talent, Cisneros Sena is very clear about her role. “I call myself a
Arlene Cisneros Sena takes a break in her studio.
2 012 Spanish Market
Arlene Cisneros Sena paints some detail into her depiction of San Francisco de Sales. The painting is one of a series of panels that will serve as an altar screen to be installed in the private chapel of Bishop James Wall in Gallup.
fan, and he offered me so much encouragement,” Cisneros Sena said. “That’s why to this day, to honor him and give him tribute, I kept my maiden name (Cisneros).” Cisneros Sena said it was her husband, Richard, who, along with her brother, encouraged her to jury into market as an artist. “My husband and my brother knew I’d been an artist all my life,” she said. Each year after registering their work at market, Cisneros Sena and her clan go to the cathedral to bring flowers to Our Lady in La Conquistadora chapel. “I’d tell [the children in my family] that this is the time to thank God for their gift and their talent, to pray for a good market and, most of all, to give thanks,” Cisneros Sena said. As her children and nephews grew up, “I didn’t have to give that speech anymore,” Cisneros Sena said. Her nephew Andrew took over. “He explained why we were here, what we’re doing. Hopefully someday, I’ll do the same with my grandbabies,” she said. Cisneros Sena’s retablos feature wide-eyed saints, liberal use of color and attention to small details. She mixes the pigments, varnishes and gesso using traditional techniques. The first panel in Cisneros Sena’s San José altar screen at St. Francis Cathedral Basilica shows an angel visiting Joseph before the birth of Christ.
Joseph’s head is encircled with a delicate halo of gold leaf, and the angel’s scarlet gown stands in relief against dark gray swirls of clouds building behind her. The scene is solemn yet serene, both mournful and joyful, and it is this melancholy combination that Cisneros Sena masterfully executes in her work. “The pigments and dyes are so rich, I feel as though they need to tell that story,” she said. “I’m not one to do pale watery colors; these dyes are staining. They’re going to stain the gesso; they’re going to be full color.” She explained that early on she painted in a simpler style. “But I felt as though I was holding back. Every time I began a new piece I wanted to push a bit more; it was all right to add drapery and accents. It’s ornate.” On winning the Master’s Award for Lifetime Achievement after 20 years at Spanish Market, Cisneros Sena said, “This award means a lot; I’m tremendously grateful. But I don’t do this to get awards; the art and the tradition mean so much to me. I want to pass it on, not only to my family but also to young people who are interested.” In the hallway that leads to Cisneros Sena’s studio is a framed pencil drawing that depicts the Good Shepherd among his flock. The lines are carefully drawn, the sheep simple, yet lifelike.
This award means a lot; I’m tremendously grateful. But I don’t do this to get awards; The arT and The TradITIon mean so much To me. I want to pass it on, not only to my family but also to young people who are interested.
Spanish Market 2 012
At left, Nuestra Señora del Carmen and below, La Sagrada Familia. Both will be part of the installation in Bishop James Wall’s private chapel in Gallup.
I really love the art form, but for me, it means much more than that. It’s where I was meant to be, it’s who I am and it’s how I know God blessed me.
The sketch was drawn by Cisneros Sena’s grandfather, whom she never knew. He was a shepherd and would disappear with his flocks into the hills and return with drawings, Cisneros Sena said. The sketch is flanked by two of Cisneros Sena’s own drawings of the Good Shepherd with large-eyed male and female children holding lambs. Like her grandfather’s drawings, the sheep are simply rendered, yet softly alive. These drawings are a small, personal display, almost an afterthought in comparison to Cisneros Sena’s huge, expressive and public retablos. But there in the hallway, the artistic and cultural links to Cisneros Sena’s past are tangible and present.
2 012 Spanish Market
Featured Artists Showing Exclusively at Scarlett’s Gallery through 2012 Spanish Market, July 26-29
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Fine Folk Art Angels, Crosses, Paintings & more
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Artists Reception Thursday and Friday, 10-5 pm
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2012 Spanish Market | 19
A breath of fresh air
Photos Gene Peach
arthur Lopez won an award last year for Saint Andrew’s Big Catch.
Gustavo Victor Goler won the Innovations Within traditions award for his bulto depicting San Cristóbal riding a surfboard.
by arin mckenna
Although only 22 of Traditional Spanish Market’s 250-plus artists juried into the new Innovations Within Tradition category last year, it was as though a fresh spring breeze was blowing through the entire event. “This really does rejuvenate the energy here at market — and not only with the artists. Clients have been coming by the booth, and they’re just raving about the new work, and that they’re just seeing such new and energized pieces,” said Kevin Burgess de Chavez. “It just freshens market, freshens my excitement in working. You can only punch so much of the same design. Being able to do something different is fun.” All artists must jury into a traditional category and produce only traditional work for their first two years in market. Chavez is a tinworker. His innovations include mimicking the filigree work found in precious metals with tin and using brass to create the look of straw appliqué. Other designs included a tin “barbed wire” wreath and flying pig nightlights made of tin. Chavez’s first piece to sell last year was a door-sized mirror titled Flamenco. “I was inspired by the movement of a flamenco dancer, so it had nice twists and big ruffles,” Chavez said. “People noticed it at the preview, and they came in bright and early before market even opened to lay their claim on it and waited until 8 to purchase.” Charlie Carrillo said he had seen a “tremendous response” to the new category. “I think it’s like going into a room with fresh flowers: There’s something fresh to see, and it’s exciting,” Carrillo said. “My booth was filled all day Saturday. And people were looking at all the pickup trucks and cars and having fun. (His innovative work depicts saints in classic cars and trucks.) They’re bright, they’re fun, they’re different.” The only Innovations piece Christine Montaño Carey had left by Sunday last year was a corn ristra sculpted from tin, and even that had engendered special orders for the same piece made to specific dimensions. “It was phenomenal. With this economy, you never know what to expect, and I ended up fuzzy-brained, because they kept coming and coming. People were just lined up some of the time,” Montaño Carey said. When lines were too long, people would ask her to hold a piece. “Usually they don’t come back. This time, every one of them did.” Something else surprised Montaño Carey. “Sometimes the traditionalists will kind of speak out and say, ‘This is destroying the tradition.’ And I didn’t hear one negative comment. Everyone seemed to be happy about it and looking forward to new and innovative and creative pieces in the future.” Weavers Lisa and Irvin Trujillo both submitted one contemporary piece for judging. Lisa’s Sum of the Parts won the Design Award. “My sense of things is that the artists in this category have all been doing this for a long time, and this is sort of like coming out of the closet,” Lisa said. “We’ve been doing it, but we haven’t been allowed to show it at market. So I think it’s sort of a honesty thing that the society is willing to let us show any at all. I think that’s a great thing.” The Innovations Within Tradition Award went to Gustavo Victor Goler for a bulto depicting San Cristóbal (St. Christopher) riding a surfboard. Although best known as the patron saint of travelers, San Cristóbal, like all saints, is patron of many things, including surfing. “I don’t ever make anything up, so I stay within the traditional
Kevin Burgess de chavez made this innovative cross.
Innovations Within Tradition category revitalizes market
So hold onto your hats: That creative wind may be gusting through market like New Mexico’s infamous spring winds this year.
20 20 2012 Spanish Market
lines. I never do anything outrageous,” Goler said. “I follow correct iconology. I’m not making political commentary, and I’m certainly not disrespectful of the church or the religion in any way. But what I like to do is research and then focus on a specific patronage that people aren’t always aware of. So that makes it fun for me, and then I have something historical to describe and talk about with people. I think it’s a great influence for the younger generation, too. You get a little better association.” Goler has been stretching the limits for some time. “In one way this was a relief, because I’ve been pushing the envelope and sneaking things in a little bit. I’d think, the worst case scenario is they ask me to remove it,” he said. “But to really express ourselves, we had to go outside of market and work with a gallery.” Goler works with Blue Rain Gallery, which exhibited all the innovative pieces Goler was unable to bring to market. Because of the 30 percent limitation on innovative work (70 percent had to be traditional), San Cristóbal was Goler’s only innovative piece at market. Arthur Lopez received the other award in the Innovations category — the Boeckman Honorary Award for New Directions — for his bulto titled Saint Andrew’s Big Catch. The piece shows the patron saint of fishermen riding a large fish. “The reaction from people has just been incredible,” Lopez said. “Everyone that’s seen any of the innovative work will just walk up with a smile and say, ‘I’m glad to see this here’ or ‘We need to tell our friends about this.’” Lopez has also been relying on galleries to show his more creative pieces.
Last year’s Lifetime Achievement Award recipient Ralph Sena was another artist able to show more innovative pieces. “Pieces like this have been part of my product line for quite a long time,” Sena said. “It expands the appeal of the Traditional Spanish Market. So that’s the huge thing for this new direction, that the Spanish Colonial Arts Society has given us this expanded boundary.” The new work stimulated dialogue. Martha Varoz Ewing entertained market attendees with her Heavenly Cell, a straw appliquéd cell phone. “This requires no monthly statement, it doesn’t have batteries, has a built-in antenna that will pick up calls anywhere. And it is guaranteed to have every call answered,” she said. “I’ve had a blast playing with it. Everyone tells me if their battery dies they’re coming back to my booth to place a call.” Carlos Santistevan Sr.’s most creative piece was a carved wooden hot rod with a roll bar and flames shooting out the back. Hang that hot rod on a wall, and it becomes a sacred heart with the flames on top and the roll bar transformed into a crown of thorns. “By doing nontraditional stuff, if I see I’m burning out on santos, I can move to this so I can try to keep it fresh,” Santistevan said. Craig Martin Moya was using straw appliqué to create abstract flowers. He sold most of his contemporary pieces the first day. “I think this is more personal. It gives a little more breathing room,” Martin Moya said. The new category promises even more surprises this year. So hold onto your hats: That creative wind may be gusting through market like New Mexico’s infamous spring winds this year.
2012 Innovations Artists
Carlos Barela, unpainted bultos Kevin Burgess de Chavez, tinwork Christine Montaño Carey, tinwork and retablos Charles M. Carrillo, retablos Marie Romero Cash, painted bultos Matthew Duran, furniture and furnishings Martha Varoz Ewing, straw appliqué Ruben M. Gallegos, retablos Gustavo Victor Goler, retablos Arthur López, painted bultos Fred Ray López, tinwork Diana Moya Lujan, straw appliqué Larry E. Madrid, ironwork Justin Gallegos Mayrant, tinwork Arturo Montaño, bone carving Andrew Montoya, painted bultos Joe Morales, woodcarving Craig Martin Moya, straw appliqué Catherine Robles-Shaw, retablos Cleo Romero, tinwork Charlie Sanchez Jr., straw appliqué Carlos Santistevan Sr., woodcarving and unpainted bultos Jacobo de la Serna, pottery Ralph A. Sena, precious metals Irvin Trujillo, weaving Lisa Trujillo, weaving Timothy A. Valdez, straw appliqué Della Vigil, straw appliqué Gabriel Vigil, retablos
Spanish Market 2 012
2012 2011 Traditional Spanish Market Traditional Spanish Market
31 32 33 34 35 36
Museum of Fine Arts
Palace of the Governors
30 29 28 27 26
1 Spanish Colonial Arts Society Sales and Information 106 105 104 103 102 101 100 165 164 163 162 161 160 107
20 21 22
W. Palace Ave.
108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51
First aid & police
E. Palace Ave.
Park and Ride
City bus and shuttle services will be provided from various locations in Santa Fe to the Downtown Transit Center on Sheridan Ave., one block from the Plaza on Saturday (July 28) and Sunday (July 29). Buses run from 8:15 a.m. to 8:10 p.m. Saturday and from 8:30 a.m. to 6:46 p.m. Sunday and depart every 20 minutes. Tickets cost $2 per person for a day pass. ($1 for seniors and handicapped riders.) For a complete schedule and maps, visit www.santafenm.gov/index. aspx?nid=1244. Buses will depart from the following locations: Santa Fe Place Transit Center, off of Rodeo Road and Cerrillos Road. The bus stop is on the south side of the mall, behind JCPenney and the food court. South Capitol Station, off of Cordova Road. The bus stop is behind the DOT building and across from the Rail Runner station. For Rail Runner passengers, complimentary Santa Fe Pick-Up shuttles will run from the Railyard to the Transit Center on Sheridan Ave. and to other locations downtown, including the Roundhouse/PERA parking lot at Old Santa Fe Trail and Paseo de Peralta. Shuttles run from 7:30 a.m. to 4:30 p.m. in a loop, every twenty minutes on Saturday and Sunday. The shuttle will make drops at other locations along the route if it’s safe to make a stop. Complete information, including a map, may be found at http://www.santafenm.gov/index.aspx?nid=1781. Special Event Parking will be available near the Plaza for $10 per day at the following locations: Sandoval lot, entrance on West San Francisco St. across from the Lensic. Convention Center lot, entrance on Federal Place across from the main post office. Water Street lot, entrance on Water St., just east of Don Gaspar.
Market Volunteer Booth
123 124 125
Old Santa Fe Trail
99 98 97 96 95 94 93 92 91 90 89
127 128 129 130 131 132 133
159 158 157 156 155 154 153 Spanish Colonial Arts Society Los Maestros Membership kids teaching Booth kids
Spanish Colonial Arts Society Sales and Information
Youth Market Volunteer & Information Booth
El Rancho de las Golondrinas Booth
135 52 53 54 55 56 57 58 59
W. San Francisco St.
88 87 86 85 84 83 82 81 80 79
San Francisco St.
78 77 76 75 74 73 72 71 70 69 68 67 66 65 60 61 62 63 64
E. San Francisco St.
Map is not to scale
22 2012 Spanish Market
2012 SpaniSh Market
Adrian A. Aragon Retablos Booth 62 Victor Archuleta Furniture, Furnishings Booth 128 José Armijo Painted Bultos, Retablos, Gesso Relief Booth 38 Lawrence Baca Precious Metals Booth 106 Carlos Barela Unpainted Bultos, Innovations Within Tradition in Unpainted Bultos Booth 75 Daniel Barela Unpainted Bultos Booth 58 Luis Barela Unpainted Bultos Booth 58 Roberto Estevan Barela Unpainted Bultos Booth 66 Javier Lorenzo Blea Tinwork Booth 116 Lena Blea Straw Appliqué Booth 23 Kevin Burgess de Chavez Tinwork, Innovations Within Tradition in Tinwork, Revival Arts: Ramilletes Booth 52 Christine Montaño Carey Retablos, Tinwork, Innovations Within Tradition in Tinwork and Retablos Booth 165 Adán Carriaga Painted Bultos, Retablos Booth 99 Charles M. Carrillo Painted Bultos, Retablos, Gesso Reliefs, Painted Reliefs, Innovations Within Tradition in Retablos Booth 161 Debbie B. Carrillo Pottery Booth 160 Estrellita A. Carrillo y Garcia Retablos, Revival Arts: Ramilletes, Leatherwork Booth 160 Marie Romero Cash Retablos, Painted Bultos, Innovations Within Tradition in Painted Bultos Booth 14 Shane Casias Precious Metals Booth 29 Joseph M. Chavez Hide Painting, Copper Engraving Booth 34 Veronica Montaño Coale Colcha Embroidery, Precious Metals, Retablos Booth 101 Gloria López Córdova Woodcarving, Unpainted Bultos Booth 19 Rafael López Córdova Woodcarving, Unpainted Bultos Booth 20 Rhonda L. Crespin Painted Bultos, Retablos Booth 95 JD Damron y Valdes de Martinez Tinwork Booth 90 Matthew Duran Furniture and Furnishings, Precious Metals, Innovations Within Tradition in Furniture and Furnishings Booth 69 Teresa May Duran Retablos Booth 46 Belarmino Esquibel Retablos Booth 21 Charlie Esquibel Furniture and Furnishings Booth 37 Martha Vároz Ewing Straw Appliqué, Tinwork, Innovations Within Tradition in Straw Appliqué Booth 104 Cristina Hernandez Feldewert Tinwork, Straw Appliqué Booth 85 Andrea FresquezBaros Retablos Booth 151 Richard Gabriel Jr. Tinwork Booth 54 John M. Gallegos Retablos Booth 73 Ruben M. Gallegos Retablos, Painted Bultos, Gesso Reliefs, Innovations Within Tradition in Retablos Booth 117 Andrew C. Garcia Furniture and Furnishings Booth 94 Frank L. Garcia Retablos,Painted Bultos, Hide Painting Booth 139 Lorrie I. Garcia Painted Bultos, Retablos Booth 93 Marissa Garcia Retablos Booth 33 Mark A. Garcia Painted Bultos, Retablos Booth 3 Ronald Samuel Garcia Painted Bultos, Retablos, Painted Reliefs Booth 45 Susie G. Garcia Weaving Booth 35 Gustavo Victor Goler Painted Bultos, Retablos, Painted Reliefs, Innovations Within Traditions in Painted Bultos Booth 110 Julia R. Gomez Colcha Embroidery Booth 114 Andrew A. Gonzales Painted Bultos Booth 83 Eric Raymond Luis Gonzales Painted Bultos, Retablos Booth 82 Amanda C. Griego Retablos Booth 57 Michael E. Griego Tinwork Booth 107 Pat Gurulé Griego Straw Appliqué Booth 30 Eugenio “Gene” Gurulé Tinwork Booth 63 Monica Sosaya Halford Colcha Embroidery, Retablos, Altar screens, Hide Painting Booth 4 Rita Padilla Haufmann Weaving Booth 96 Elena Miera Herrera Retablos Booth 131 Anita Rael Hisenberg Colcha Embroidery Booth 107 John Jimenez Retablos, Precious Metals, Furniture and Furnishings Booth 8 Donna Sena Keirns Precious Metals Booth 146 Cecilia Leitner Retablos Booth 143 Ellen Chavez de Leitner Retablos Booth 140 Rose Leitner Retablos Booth 143 Patrick E. Leyba Furniture and Furnishings Booth 88 Judy Vároz Long Straw Appliqué, Tinwork Booth 108 Arthur López Painted Bultos, Painted Reliefs, Innovations Within Tradition in Painted Bultos Booth 10 Bo López Precious Metals Booth 115 Eurgencio López Woodcarving, Unpainted Bultos Booth 5 Felix A. López Painted Bultos, Straw Appliqué Booth 15 Fred Ray López Tinwork, Innovations Within Tradition in Tinwork Booth 132 Joseph A. López Painted Bultos, Painted Reliefs Booth 15 Juan López Precious Metals Booth 119 Krissa María López Retablos, Straw Appliqué Booth 16 Peter E. López Painted Bultos, Retablos, Gesso Reliefs, Painted Reliefs Booth 164 Ramón José López Painted Bultos, Furniture and Furnishings, Retablos, Precious Metals, Hide Painting, Copper Engraving Booth 115 Raymond López Painted Bultos, Furniture and Furnishings, Retablos Booth 89 Rosina López de Short Retablos, Painted Reliefs Booth 2 David Nabor Lucero Painted Bultos, Painted Reliefs, Retablos Booth 149 Gregory D. Lucero Tinwork, Painted Bultos Booth 48 Jon A. Lucero Unpainted Bultos Booth 55 José A. Lucero Painted Bultos, Retablos Booth 127 José Floyd Lucero Woodcarving, Unpainted Bultos Booth 134 Onofre E. Lucero Retablos Booth 32 Steven A. Lucero Ironwork Booth 159 Tim Lucero Retablos Booth 118 Verne L. Lucero Tinwork Booth 26 Diana Moya Lujan Straw Appliqué, Innovations Within Tradition in Straw Appliqué Booth 39 Ernie R. Lujan Painted Bultos, Retablos, Gesso Reliefs, Painted Reliefs Booth 152 Jerome P Lujan . Painted Bultos, Retablos, Gesso Reliefs Booth 145 Lenise Lujan-Martinez Straw Appliqué Booth 12 Marie Antoinette Luna Retablos Booth 49 Jimmy Madrid Tinwork Booth 98 Nicolas R. Madrid Tinwork Booth 150 José U. Maes Woodcarving, Unpainted Bultos Booth 121 Bernadette MarquezLópez Straw Appliqué, Precious Metals Booth 10 Byron Martinez Unpainted Bultos Booth 113 Dominic Martinez Painted Bultos, Retablos Booth 78
Jacob Martinez Painted Bultos Booth 133 Karen Martinez Weaving Booth 67 Rita V. Martinez Painted Bultos, Tinwork Booth 86 Timothy J. Martinez Weaving Booth 31 Yvonne B. Martinez Weaving Booth 148 Juan D. Martinez Jr. Tinwork, Painted Bultos Booth 86 Justin Gallegos Mayrant Tinwork, Innovations Within Tradition in Tinwork Booth 144 Norma Medina Weaving Booth 162 Ed Mier Furniture and Furnishings Booth 122 Jerry M. Mondragón Retablos Booth 142 Margarito R. Mondragón Painted Bultos, Retablos, Painted Reliefs Booth 44 Arturo Montaño Revival Arts: Bone Carving, Innovations Within Tradition in Revival Arts: Bone Carving Booth 155 Brigida Montes Straw Appliqué Booth 17 Andrew Montoya Painted Bultos, Retablos, Innovation Within Tradition in Painted Bultos Booth 124 Gilbert J. Montoya Painted Bultos, Retablos Booth 91 James Montoya Retablos Booth 28 Corine MoraFernandez Retablos Booth 112 José Morales Woodcarving, Unpainted Bultos, Innovations Within Tradition in Woodcarving Booth 129
Annette Morfin Pottery Booth 130 Jason R. Mossman Furniture and Furnishings Booth 103 Craig Moya Straw Appliqué, Innovations Within Tradition in Straw Appliqué Booth 141 Jean Anaya Moya Retablos, Straw Appliqué, Hide Painting, Painted Bultos Booth 141 Erik Muñoz Straw Appliqué Booth 64 Arturo Francisco Olivas, OFS Retablos Booth 71 Adan Eduardo Ortega Pottery Booth 125 Antonio P Ortega . Woodcarving, Unpainted Bultos Booth 27 Matthew “Mateo” Ortega Unpainted Bultos Booth 1 Pete Ortega Woodcarving, Unpainted Bultos Booth 1 Guadalupita Ortiz Retablos Booth 6 Sabinita López Ortiz Woodcarving, Unpainted Bultos Booth 42 Alcario “Carrie” Otero Painted Bultos, Retablos, Gesso Reliefs Booth 97 Carlos José Otero Painted Bultos, Retablos, Gesso Reliefs, Painted Reliefs Booth 79 Nicolas R. Otero Retablos Booth 111 Rodolfo Parga Painted Bultos Booth 109 Richard Prudencio Furniture and Furnishings Booth 60 Lawrence Quintana Furniture and Furnishings Booth 126 Carlos A. Rael Retablos, Painted Bultos Booth 137
2012 Spanish Market
artist directory 2012
Daniel L. Rael Woodcarving, Unpainted Bultos, Unpainted Relief Panels Booth 47 Felipe Rivera Precious Metals, Retablos, Painted Bultos Booth 41 Mel Rivera Straw Appliqué Booth 7 Catherine Robles-Shaw Retablos, Painted Bultos, Innovations Within Tradition in Retablos Booth 84 Bernadette M. Rodriguez Straw Appliqué Booth 51 Felicia Rodriguez Retablos Booth 53 Jacob Rodriguez Painted Bultos, Woodcarving, Retablos Booth 158 Maria Victoria Lucero Rodriguez Colcha Embroidery Booth 25 Tomasita Rodriguez Painted Bultos, Unpainted Bultos, Inlaid Crosses, Bultos en Nicho Booth 43 Vicki Rodriguez Straw Appliqué Booth 9 Adam Matthew Romero Retablos Booth 138 Cleo Romero Tinwork, Innovations Within Tradition in Tinwork Booth 72 Racheal RoybalMontoya Precious Metals Booth 163 Jacob Salazar Woodcarving, Unpainted Bultos Booth 123 Leonardo Gregario Salazar Unpainted Bultos Booth 61 Ricardo P Salazar . Unpainted Bultos Booth 135 Vanessa M. Sánchez Straw Appliqué Booth 87 William “Art” Sánchez Painted Bultos Booth 136 Charlie Sánchez Jr. Straw Appliqué, Innovations Within Tradition in Straw Appliqué Booth 100 Beatrice Maestas Sandoval Colcha Embroidery, Weaving Booth 68 Carlos Santistevan Jr. Hide Painting Booth 17 Carlos Santistevan Sr. Painted Bultos, Hide Painting, Altar Screens, Unpainted Bultos, Retablos, Woodcarving, Innovations Within Tradition in Woodcarving and Unpainted Bultos, Revival Arts: Bone Carving Booth 23 Gregory P Segura . Precious Metals Booth 50 Arlene Cisneros Sena Retablos Booth 156 Marie Sena Retablos Booth 154 Ralph A. Sena Precious Metals, Ironwork, Innovations Within Tradition in Precious Metals Booth 65 Jacobo de la Serna Pottery, Innovations Within Tradition in Pottery, Retablos Booth 102 Roxanne ShawGalindo Retablos Booth 80 Geraldine Silva Gesso Reliefs Booth 120 Miguel Strunk Straw Appliqué Booth 109 CarolTafoya Straw Appliqué Booth 56 JohannaTerrazas Weaving Booth 24 ThereseTohtsoniPrudencio Pottery Booth 60 CamillaTrujillo Pottery Booth 13 Irvin L.Trujillo Weaving, Innovations Within Tradition in Weaving Booth 11 Jimmy E.Trujillo Straw Appliqué Revival Arts: Bone Carving Booth 18 Lisa R.Trujillo Weaving, Innovations Within Tradition in Weaving Booth 11 LucyTrujillo Weaving Booth 70 RandyTrujillo Furniture and Furnishings Booth 76 Annette GutierrezTurk Weaving, Colcha Embroidery Booth 81 Lee J.Valdez Woodcarving Booth 40 Timothy A.Valdez Straw Appliqué, Innovations Within Tradition in Straw Appliqué Booth 157 Jenny Valencia-Baeza Revival Arts: Basketry Booth 74 Della Vigil Straw Appliqué, Innovations Within Tradition in Straw Appliqué Booth 51 DorothyT.Vigil Furniture and Furnishings Booth 59 Eugene D.Vigil Weaving Booth 77 Gabriel J.Vigil Retablos, Innovations Within Tradition in Retablos Booth 105 Jennette Vigil Weaving Booth 147 Rose A.Vigil Weaving Booth 77 Sean Wells y Delgado Retablos Booth 153 Nina J. Arroyo Wood Colcha Embroidery Booth 92 JasonYounis y Delgado Tinwork Booth 153 Frank Zamora Retablos Booth 22 René Zamora Ironwork, Furniture and Furnishings Booth 36
Macaila Armijo Booth #Y104a Retablos Relief Carvings Mentor: Jose Armijo MarissaTeresa Armijo Booth #Y104b Retablos Mentor: Jose Armijo Emily Baca Booth #Y127b Precious Metals Mentor: Lawrence Baca Rhiannon Barela Booth #Y118a Retablos Mentor: Charles Carrillo Salvador CarriagaLambert Booth #Y102 Painted Bultos, Retablos, Relief Carvings Mentor: Adán Carriaga Marissa Chavez Booth #Y108a Woodcarving Mentor: Peter Ortega Micaiela Cordova Booth #Y107a Tinwork Mentor: Christine Montaño Carey Delaney Dropkinski Booth #Y107b Retablos Mentor: Marissa Garcia Gabriel Duran, Booth #Y100b Furniture and Furnishings, Precious Metals Mentor: Mathew Duran Jocelyn Fernandez Booth #Y106a Retablos Mentor: Corine MoraFernandez Joelyn Fernandez Booth #Y106b Retablos Mentor: Corine MoraFernandez Joey Miklo Fernandez Booth #Y110a Retablos Mentor: Corine MoraFernandez Joliaunna M. Fernandez Booth #Y110b Retablos Mentor: Corine MoraFernandez Jordan Miranda Fernandez Booth #Y110c Retablos Mentor: Corine MoraFernandez
Matthew P Flores . Booth #Y100a Straw Appliqué Mentor: Marcial Rodriguez Noé Garcia-Chavez Booth #Y103 Retablos Mentor: Monica Sosaya Halford Adriana Gonzales Booth #Y117a Retablos Mentor: Charles Carrillo Liberty Gonzales Booth #Y117b Retablos Mentor: Charles Carrillo Sydney Halford de Sosaya Booth #Y113a Retablos, Reredos Mentor: Monica Sosaya Halford Nicholas HalfordSosaya Booth #Y113b Retablos Mentor: Monica Sosaya Halford Jerome Herrera Booth #Y118b Retablos Mentor: John Gallegos Benjamin Lujan Booth #Y124a Retablos, Gesso Relief Mentor: Jerome P Lujan . Joseph Lujan Booth #Y124b Retablos, Gesso Relief Mentor: Jerome P Lujan . Emma Juliana Lujan y Davis Booth #Y116a Straw Appliqué Mentor: Diana Moya Lujan Madison Simone Lujan y Davis Booth #Y116b Straw Appliqué Mentor: Diana Moya Lujan Justin Martinez Booth #Y120 Retablos Mentor: Lorrie Garcia Nathan Martinez Booth #Y109a Straw Appliqué, Painted Bultos Mentors: Yvonne and Dominic Martinez Nicole Martinez Booth #Y108b Straw Appliqué, Painted Bultos Mentors: Yvonne and Dominic Martinez Rachel Martinez Booth #Y112a Woodcarving, Unpainted Bultos Mentor: Peter Ortega
Sean Martinez Booth #Y109b Retablos Mentors: Yvonne and Dominic Martinez Vanessa Martinez Booth #Y112b Woodcarving, Unpainted Bultos Mentor: Peter Ortega Antonio M. Ortega, Jr. Booth #Y115 Woodcarving, Unpainted Bultos Mentor: Antonio P . Ortega Sr. Joshua Otero Booth #Y111a Bultos, Retablos, Relief Carvings Mentor: Carlos José Otero Yolanda Prudencio Booth #Y128a Furniture and Furnishings and Pottery Mentors: Richard Prudencio and Therese Tohtsoni-Prudencio Sefriano Prundencio Booth #Y128b Furniture and Furnishings and Pottery Mentors: Richard Prudencio and Therese Tohtsoni-Prudencio Simona Rael Booth #Y119 Retablos Mentor: Felicia Rodriguez Isabel Rodriguez Booth #Y126a Retablos, Bultos Mentor: Jacob Rodriguez Joaquin Rodriguez Booth #Y126b Retablos, Bultos Mentor: Jacob Rodriguez Sarah Salazar y Weiler Booth #Y127a Tinwork Mentor: Kevin Burgess de Chavez Patrick J. Sánchez Booth #Y125 Retablos Mentor: Arlene Cisneros Sena Marcos Ray Serna Booth #Y121 Painted Bultos, Retablos Mentors: Alcario Otero and James Montoya AndreaTorres Booth #Y116c Straw Appliqué Mentor: Diana Moya Lujan
Aubri D.Turano Booth #Y101 Weaving Mentor: Maria E. Vigil NicholasTurk Booth #Y122a Woodcarving Mentor: Sabinita Lopez Ortiz VicenteTurk Booth #Y122b Woodcarving Mentor: Sabinita Lopez Ortiz Isaiah Valenzuela Booth #Y105b Retablos Mentor: Corine Mora-Fernandez Marcos Valenzuela Booth #Y105a Retablos Mentor: Corine Mora-Fernandez Enrique Bonifacio Vigil Booth #Y114b Retablos Mentor: Cecilia Leitner Megan Vigil Booth #Y129 Weaving Mentor: Karen V. Martin Nicolette Elisa Vigil Booth #Y114a Retablos Mentor: Cecilia Leitner Daron Vigil-Scott Booth #Y123 Straw Appliqué Mentor: Della Vigil Dominic Mathew Zamora Booth #Y111b Retablos Mentor: Frank Zamora
Spanish Market 2 012
Carving a niChe
by adele melander-dayton
Andrew Garcia’s furniture is made from solid, imposing ponderosa pine, and his pieces (tall trasteros, long benches and elegant side tables) feel ageless. Like the trees themselves, they’re meant to last for a very long time. Despite their solidity, Garcia’s work is ephemeral and light, too, decorated with intricate carvings: delicate floral motifs and tight geometric designs. The 59-year-old artist, who lives in Río Lucío (near Peñasco), has participated in Spanish Market since 2003. Many of his pieces have won Spanish Market awards. Garcia created a magnificent trastero (cabinet) last year, which took first place in traditional furniture at the market. Spanish Colonial Arts Society director Donna Pedace chose the piece to feature in 2012’s Spanish Market poster. “As I toured the convention center and looked at all of the art that had been submitted for jurying, I kept coming back to his piece, the most phenomenal trastero,” Pedace said of selecting Garcia’s work. “The carving is perfection. You could really see the work, and it was extraordinary. I think anyone, regardless of personal taste in art and furniture, can see the talent that went into it.” “I get carried away on the carving,” Garcia said, laughing. “It’s like my canvas; I want to carve on every square inch. I probably overdo it sometimes, but that’s what I love doing.” The winning trastero, like much of Garcia’s work, is at once robust and delicate. The swirls and floral designs, though precise and measured, manage to look almost whimsical, and their sheer abundance reveals Garcia’s propensity for decoration. But because the trastero is so large, the carvings complement the form rather than overwhelm it. Garcia’s wife, Lorrie, is also a Spanish Market artist (she makes retablos and other smaller works), and the two are retired Peñasco schoolteachers. “Carving is when I get to work quietly in my shop,” Garcia continued. “I meditate or pray.” Garcia’s carving techniques are largely self-taught: He reads old books about Spanish colonial art and furniture for ideas, and he likes to experiment, combining different motifs and patterns. One of Garcia’s daughters, Anna Rose, has told him that she can see his years as a math teacher in the geometric precision of his designs. Lorrie is an important influence too — Garcia credits her with helping him to branch out into floral patterns and Moorish motifs. “My wife helps me along when I’m not sure how to get a certain part done; she’ll say put this here, or that should go there,” Garcia said. While most of the couple’s projects aren’t collaborations in the technical sense, “Almost every piece I do she has a hand in.” Garcia has enjoyed woodworking all his life (he even built his own home), but it wasn’t until 1995, when he purchased a portable sawmill, that his furniture making became a serious artistic pursuit. In the mid-’90s, Garcia began taking woodworking classes at the Northern New Mexico College in El Rito on the advice of his neighbor Daniel Tafoya, who is an instructor at the college. And while carving is his favorite part, Garcia acknowledges that each phase of furniture production is important. The process involves several steps: selecting the lumber, milling it, carving, assembly and finishing. “The stressful part is wondering whether the final outcome is going to turn out as I and the customer are hoping,” Garcia said. “It’s a long process from start to finish; good assembly and finishing are required to get the piece where it needs to be.” Construction of a piece takes one to three months, and larger pieces can take up to four months. “I take pride in the fact that I take my work from tree to final form,” Garcia said. He often gets ideas for the next piece while he’s working. Garcia constructs solely from ponderosa pine and, until about two years ago, harvested all
Poster artist’s work rooted in tradition
of his own lumber. “We’re surrounded by forest up here, close to Las Trampas,” he said. “But I got too busy working on pieces to harvest, and Lorrie didn’t like the idea of me cutting 180-
despite their solidity, Garcia’s work is ePhemeral and liGht, too, decorated with intricate carvings: delicate floral motifs and tight geometric designs.
foot timber by myself and hauling it onto my truck. Timber is a whole other game.” On his work being chosen for the market poster, Garcia said, “It was an awesome feeling, and an honor.... Being a Spanish Market poster artist is something to be proud of. I’m hoping that being on the poster will bring more recognition to furniture as an art form. The caliber of the artwork [at Spanish Market] is such that I want to try and do my best so my work is worthy of being shown along with everything else.”
2012 Spanish Market
2012 Spanish Market | 27
Teresa May Duran
booth #29 washington ave santa fe plaza 505-310-0155
Booth 46 • www.corazondelduran.com Teresamay@q.com 303/522-6994
28 | 2012 Spanish Market
Retablos Reredos Matachines Colcha Monica Sosaya Halford Booth 4
Adrian Anthony Aragon
2012 Spanish Market | 29
Ellen Chávez de Leitner
Saint Kateri Tekakwitha by Ellen Chavez de Leitner ´
Studio: #815 State Road 76, Chimayo, NM 87522
30 | 2012 Spanish Market
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Gravalos en Cobre
artists revive copper engraving – a challenging , endangered art form
by aRIn mckenna
In this age of computerized printing and mass reproduction, it is difficult to envision reproducing every book by hand or spending weeks engraving a copper plate to replicate an image. Ramón José López and Joseph Chavez — the first artists juried into the new copper engraving category— have a deep appreciation for what that entailed through their own efforts to revive this endangered art.
perspective, two-dimensional and three-dimensional López, recipient of a National Endowment for design.” the Arts National Heritage Fellowship and the Reviving this art form was challenging. Modern Spanish Colonial Arts Society’s Master’s Award technology can create engravings in minutes for Lifetime Achievement, won approval for using computerized images and machines. But the the new category. He spent months researching traditional process of sculpting a three-dimensional libraries, museums, antiquity shows, the Internet image on a flat piece of copper is complex, with and more than 200 books, accumulating 15 large few practitioners. binders full of information. Early engravers learned through apprenticeships, Old bibles and books sparked López’s interest. so little is written about the process itself. “The images were all done with engraving, so López was fortunate enough to find a 1761 people could not only read but also actually look engraved illustration detailing the process, with at the images that would inspire them,” López information such as how to sharpen tools, clean ink said. “And there was such high skill, including from plates and which tools to use for various effects. calligraphy, so they could print all the imagery.” “There are so many steps, not just in the López has found no evidence to suggest engraving but even in how to sharpen your that Spanish colonial New Mexico had its own tools,” López said. “It’s a big process. And it’s an grabadores — engravers (also called abridores) — incredible process.” but the engraver’s art would definitely have been “It’s a very tedious process. It’s a combination present. of artistic talent and technical and mechanical Europeans and Spanish colonists relied on perfection,” Chavez said. “You’re using a variety of engraving for communication and many common tools: burins, chisels with different types of tips, and objects. Grabadores created advertisements, they have to be razor sharp at all times. You make wedding announcements, treaties, legal documents, one mistake on your plate, that’s it — start all over.” cigar labels and medals. Gravalos were also much in Chavez had invested about 50 hours on his first demand by the Catholic church. Engravers created plate when he made a mistake. Attempts to correct marriage and baptismal certificates, prayer books La Divina Pastora, Joseph Chavez it only aggravated the problem, and he eventually and incredibly detailed holy cards. abandoned the plate. (López contends that any mistake can be corrected.) Through illustrated stories and books, grabadores kept people informed about Everything — including lettering — must be done in reverse. “When you’re engraving, current events, such as the appearance of Our Lady of Guadalupe in 1531. They your hand wants to go one way, and you can’t do that — you have to go the opposite achieved remarkably lifelike portraits, disseminated the latest fashions and made way,” López said. “It’s completely different, because you’re going against the grain. It’s instruction manuals for daily activities like winemaking. kind of weird in your mind.” It is likely that Spanish settlers carried such items with them to New Mexico, Lines, shading, texture and patterns — all easily executed with paint or pen and especially prayer books, images of santos (saints) and playing cards. ink — must be laboriously carved into the copper. Instead of a simple stroke of the Even their currency bore the stamp of the engraver. Many grabadores apprenticed brush to create a shadow, the artist may scratch in a crosshatch pattern. Stippling with a at Mexico City’s mint, creating copper plates for the molds used to cast coinage. The burin may add texture, and line engravings add depth. The finished plate is inked up and engraving process usually involved several specialized artisans. An artist might create the image, a draftsman would prepare sketches for the engraver and someone else would pressed onto paper. print the image. The rare artist who did it all — as López and Chavez are doing — Chavez uses a tórculos, or roller press, for his prints. Roller presses were state-of-the could sign the piece as the fecit (artist). art in their day. The church brought the first roller press from Europe to Mexico City “People have to realize that copper engraving is a skilled artisan art,” Chavez said. in 1538. “This was a very specialized field. The Spanish and French engravers who came into López follows in the footsteps of Mexican artisans, improvising with a simpler press. Mexico were really talented, studio-trained artists who were knowledgeable in anatomy, Mexico City’s eight engraving studios were founded by artists who could not afford
2012 Spanish market
expensive roller presses. “The guys that went on their own and started their own printing shop, they improvised with whatever they had,” López said. López spent a year creating Santos y Oraciones (Saints and Prayers), a book with 34 engraved prints. Each plate took approximately two-and-a-half weeks to engrave, after months of experimenting and learning to do the techniques. “What I was trying to capture in my own work was the simple design of Spanish colonial New Mexico santos, because there’s such a big distinction between the Philippines, Goya, Spain, Guatemala, Mexico and New Mexico,” López said. “When you look at the retablos, it’s kind of simplified, and that’s what I was trying to capture in the presentation of the imagery.” López will show his engravings with artwork from some of the six other categories he is juried into. Chavez juried into Spanish Market with hide paintings two years ago. He had studied engraving while pursuing his B.F.A. at New Mexico State University. “I really, really liked it at that time,” Chavez said. “So when this category opened up, I told them right away that I wanted to screen for it. I worked about six months on three plates I submitted for screening.” To prepare, Chavez took a refresher course in engraving at the Rhode Island School of Design, then began visiting museums to study the Masters. “I got to study the 16th- and 17th-century collection of Spanish, French and Italian prints at the Ringling Museum in Sarasota that are just absolutely magnificent. You think, how did they ever do this three or four hundred years ago?” The print Chavez will submit for judging has more than 300 hours invested in it. In spite of that, Chavez plans to create a limited edition of each print, then destroy the plate. Chavez travels to Spain, Italy and France this fall to study with master engravers. Visit López and Chavez at Spanish Market to learn more about this intriguing art form.
Photos Arin McKennA
top left: Cristos Crucificado, ramón José López ramón José López Above, san Francisco de Asís, ramón José López
Spanish Market 2 012
The home of Reine and Joe Moure showcases their art collection.
Our Lady of the Rosary, 2002, a devotional piece by Alcario Otero
C ol l E C T I vE
story by kay loCkridge photos by kerry sherCk
ColleCtors find happiness in the pursuit
at the heart of any spanish colonial art collection, whether in a museum or a home, is simplicity and devotion to faith. spanish Market reflects these keystones in the beauty of the artists’ work and the keen eye of collectors, offering both the artist and the collector the opportunity to share this amazing experience.
34 2012 Spanish Market
“Spanish colonial art collectors come to Spanish Market each year because they know they will find one-of-akind and the best-of-the-best at the market,” said Maggie Magalnick, market director for the Spanish Colonial Arts Society, sponsor of the annual market and the Museum of Spanish Colonial Art on Museum Hill. “It’s the personal interaction between the artist and visitor,” Magalnick said. “You take home a part of the artist with the work. And, no matter what your particular interest in Spanish colonial art, you will find a wide variety of fine artists who pursue one or several media. “It’s amazing how the culture speaks through their art in terms of history and beauty. Each piece is an education and peek into the soul of the artist and his or her culture,” she said. Collectors know that the work is authentic and qualified because of the rigorous jurying process each artist goes through to enter and stay in market. Besides the artistic capabilities, each artist must be at least onequarter Hispanic with direct/family ties to New Mexico or southern Colorado. “The jury process is put together by the artists,” Magalnick noted. “They set the guidelines and ensure that the quality is maintained. It’s to everyone’s benefit. Artists do the research, maintain standards and thereby protect the tradition.”
“It’s not easy,” Magalnick admitted, “but it guarantees collectors that the art they fall in love with is authentic.” So, what determines a collector? The dictionary definition is simply “one who collects.” Martha Egan — author, owner of Pachamama gallery and an avid collector of folk art, including Spanish colonial antiques — said it is more involved than that — much more. “A true collector must have a specific purpose and area of interest,” she said. “There is a commonality of subject, materials, perhaps a time period. The collector decides the boundaries. Anything beyond two (pieces) is a collection, in my opinion. “I will say that collecting is one of the strangest aspects of human behavior, and most of us are collectors of one thing or another. My first collection was rocks that I found as a kid. I’ve moved on, of course, but the range of collecting runs quite a gamut,” Egan said. “Each object, whether a stamp, a coin or piece of art, is a learning experience,” Egan suggested. “There is an intrinsic value in each piece, and you must love it or you will grow tired of the experience and cease to collect whatever it was that first intrigued you. “The Spanish Market, like all of Santa Fe’s markets, is wonderful because it provides an opportunity for personal exchanges between artists and collectors. Our markets are educational, informative and interesting for both.”
Christmas in July
If it’s July, it must be Christmas, and the Traditional Spanish Market provides both the incentive and opportunity for Joella and Steve Mach of Houston to purchase and exchange special gifts. The Machs have been enthusiastic members of the Spanish Colonial Arts Society since 1998, when “we stumbled into Good Hands Gallery and learned about Spanish Market; we’ve been coming to the market every year since then,” said Steve. “I’m not sure just when we started buying each other an ‘early’ Christmas present, but it’s become an annual custom,” Joella noted. “Our first purchase was a bulto created in the 1980s by Horacio Valdez, and we’ve been hooked ever since.” While they appreciate all Spanish colonial art, the Machs tend to focus on bultos, straw appliqué and precious metals. “We finally admitted to ourselves that this (Spanish colonial art) is something we both truly love,” Joella said. “We didn’t have to force ourselves,” Steve added. “We just love the art and those who create it.” Among their favorite artists are straw appliqué artists Felix Lopez (who also creates painted bultos), Craig Martin Moya, Jean Anaya Moya (who also does retablos and hide paintings) and Mel Rivera; santeros Charlie Carrillo, Marie Romero Cash, the Leitner family, Ramón José López (owner, with his wife, Nance, of Good Hands Gallery) and Peter Ortega (who also does woodcarving); and precious metals artist Bo López, son of Ramón and Nance. “Ramón José López is a master of all the arts. … He has created a huge etched silver cross. As collectors, we would love to have a piece like that, but it belongs in a church. … If we could, we would buy it and donate it to a church,” Joella said. “As Roman Catholics, we have a personal interest in such work,” Steve commented, “and it’s art that we’re real comfortable with. It appeals to us. At the same time, we’re selective and every piece we have at home has a reason for being there.”
permanently to the City Different in 2003 (after building a second home here in 1992). Reine actually collects totally different items (Victorian enamels, mourning jewelry and small grave decorations and other ephemera mostly confined to her study). “As a collector, you appreciate others’ passions for collecting … whatever they may collect,” she said. “I love everything in this house, perhaps some things more than others, but they all have a meaning for both of us.” She, too, is active at the Museum of Spanish Colonial Arts. Joe’s current passion focuses on colonial ivory from the Asian provinces of Spain and Portugal. These small, exquisite pieces range from the 17th to the 19th centuries. “I still look for new pieces. I like the stuff that’s not easily available, and I like to be the one who knows the most about it. I believe I may be the only one who collects these ivories,” he said. Another significant collection includes Indian pottery moccasins created in the early 20th century. He collects only pairs, including three conjoined pairs, except for one special moccasin that appears to be a container of some sort with a handle. “These can’t be replaced,” Joe said seriously. “Nor can my ivories or paintings; most of the contemporary art is replaceable, if it became necessary to do so.” “In the meantime, we are the curators and preservationists of this magnificent art. It’s our pleasure and honor to both appreciate and protect it,” Reine said.
To live in beauty
Reine and Joe Moure have been called “primo collectors” by staff, members and artists of the Spanish Colonial Arts Society. They are more reserved about their vast collection of Spanish colonial art, considering themselves stewards of the art and, at the same time, acknowledging they delve deeply into works by contemporary Hispanic artists. “I had been collecting textiles, Indian pottery and Western and Gustave Baumann paintings when I first attended Spanish Market in 1994 or ‘95 and realized there were artists (in the market) who were really, really good; in short, they were artists,” said Joe. “I first bought a piece [a St. Francis bulto] by Alcario Otero and then commissioned first one piece, then another and another. “Alcario’s work now makes up 75 to 80 percent of our Spanish colonial art collection,” Joe noted. “He’s the best carver I’ve ever seen; plus, he’s a good man and a spiritual person. There’s a little bit of him in each piece. His work is infused with character.” Joe Moure, who was on the Spanish Colonial Arts Society board for six years and its president, first came to Santa Fe as a visitor in the 1970s. He and Reine met in California in 1987, married in 1994 and moved
Collectors Joe and Reine Moure support the Spanish Colonial Arts Society through volunteer activities.
Spanish Market 2 012
new faces bring fresh perspectives and vitality
Crochet her way
by arin mckenna This year’s Contemporary Hispanic Market poster artist, Edward Gonzales, was one of eight artists who founded the event. (One of the founders, Richard C. Sandoval, died in May.) “Coming out of the Chicano movement, we challenged the [Spanish Colonial Arts] Society to provide venues for Hispanic artists, particularly in Santa Fe,” Gonzales said. “And that’s what Contemporary Hispanic Market was all about.” Gonzales, who served as chairman the first six years, negotiated the agreement to present a contemporary market contiguous with Traditional Spanish Market. Fifty-five artists participated in the first show in 1990. “Our goal has been to maintain the contemporary Hispanic art presence in Santa Fe. It hasn’t been easy, but we’ve been able to maintain our position all these years and make it a permanent fixture in art shows on the Plaza,” said Gonzales, who continues to serve on the market committee. “We’re often overshadowed by the Spanish Market because they have so much history and clout in the newspapers, but we’re there too, and I think it’s really complementary.” Nearly 300 artists competed for the 134 booths available this year. Three unassociated judges chose artists based on their aesthetic talent, technical prowess and ability to bring something fresh to market. Those attending this year’s market will find 50 new faces, including renowned painter Amado Peña. Three of this year’s new artists provide some insight into what Contemporary Hispanic Market has to offer.
Peggy Chavez does unbelievable things with crochet, ranging from rather provocative beach cover-ups to depictions of santos (saints) that would fit right in with Traditional Spanish Market if they were created with colcha embroidery instead of crochet. “I’m very passionate about crocheting. It inspires me with memories of my own childhood and having learned the art from my grandmother, Chavez said. ” Chavez also likes what her art inspires in others. “People always say, ‘Oh, my grandmother used to do that.’ It conjures up memories for other people of their childhood, so it takes them into a simpler, happy time in their lives. ” Chavez caught the eye of market committee chairwoman Ramona Vigil-Eastman at the New Mexico State Fair last year with her entry, Mi Virgen Querida, a blanket depicting Our Lady of Guadalupe. VigilEastman encouraged Chavez to submit her work for jurying. The Guadalupe blanket, which placed third in the state fair competition, exemplifies Chavez’s style. “I love stories and storytelling, so with a lot of the blankets that I make, I try to tell a story, Chavez said. ” She has created artwork of Our Lady of Guadalupe with images of the Santuario de Chimayó nestled in her cloak or appearing to Juan Diego in Tepeyac, Mexico. One blanket depicts St. Francis surrounded by New Mexican wildlife. She incorporates imagery from a baby’s room into her baby blankets.
This contemporary dining room set features Honduras mahogany.
dina romero Jay
Paintings capture the light
The Contemporary Hispanic Market festivities begin with the Preview/Awards Night from 5:30 to 8 p.m. Friday (July 27) at the Santa Fe Community Convention Center. The event is free. Market artists will sell from booths along Lincoln Avenue near the Plaza from 8 a.m. to 5 p.m. Saturday, July 28, and from 9 a.m. to 5 p.m. Sunday, July 29. Free. For additional information visit www.contemporaryhispanicmarket.com.
After years of painting sporadically while trying to earn a living, Dina Romero Jay began pursuing her art “aggressively” about a year ago. She tested the waters during the Pecos Studio Tour last fall and was pleased with reactions to her work. As a fifth-generation New Mexico Hispanic, Contemporary Hispanic Market seemed a natural next step in her career. “It’s kind of surreal for me right now, because I just never thought it would go so well so quickly. It’s crazy, Romero Jay said. ” “You hear some artists say, ‘I can’t stand anything I create.’ And I’m pretty happy with the stuff I create. So I’m like, ‘Wow,’” Romero Jay said. “Now I’m getting to the point I want to explore different strokes and ways of doing things. It’s kind of opening me up to being a little more comfortable with my medium, which is exciting. ” Romero Jay captures the motion of ballet dancers with her oils and wants to explore painting flamenco dancers. She may start painting her flock of chickens as well. But landscapes and churches hold the greatest appeal for her. “I’m one of those people who grew up here in New Mexico but went away, did other things and then came back, she said. “When I moved back from Montana, I remember driving down ” I-25, and as soon as I crossed into New Mexico, I was like, the light is so bright and so stark and so clear and so different than Montana. When you come here and everything’s so stark and bright, you’re like, ‘Oh, yeah, I’m home.’ It’s like waking up. ” Although Romero Jay would love to have gallery representation someday, she has an overriding goal with her art. “I want to create something, but I want it to be in people’s houses, I want it to be affordable, ” she said. “Because some of this stuff gets kind of ‘collectorish,’ and my goal is to have people hang it in their homes and enjoy it. ”
2012 Spanish Market
Chavez’s beach cover-ups, dresses and vests attest to her talents as a clothing designer. She designed her own wedding dress and has made numerous christening dresses. If Chavez is dissatisfied with something or gets an inspiration for improving it, she pulls it apart and starts over. “I hate to take it apart, because you’ve put a lot of work into what you’ve done, but sometimes you just have to, because something else feels better, she said. ” Despite spending weeks or months on a piece, Chavez finds crocheting therapeutic. “I must have been taught with a lot of passion and a lot of love, because it carries over into what I do, Chavez said. “I love it. I think about the person ” that I’m making something for, and my mind, my hands — I just go with it. ”
Mi Virgen Mi Sanctuario Black Beach Cover-up
Furniture inspired by dreams
of encouraged me, quietly, and said, ‘This is good. It pushes the other artists to think a little bit out of the box.’” Depending on space, Sandoval may bring some pieces that stretched the boundaries at Traditional Market, such as a traditional trastero (china cabinet) with a whimsical frilled lizard replacing the rosette at the top. One of Sandoval’s contemporary pieces, a table with a double helix pedestal, speaks to his creative process. Sandoval knew what he wanted the pedestal to be, but he could not figure out how to make it. “Then I dreamt about how to do it, and the next morning I knew what to do and went to it and built it, Sandoval said. “Sometimes your mind ” works on it when you’re asleep and figures out things. Ideas don’t always come out exactly how I dreamt, but I’ll get something else that’s real nice, too. ” Sandoval is not sure what to expect this year. “I just want to see what people are looking for, he said. “ ” Are they looking for contemporary or traditional or both? I just want to get a feel for the market. ”
After 15 years at Traditional Spanish Market, furniture maker Chris Sandoval has decided to showcase his contemporary work. “I like the traditional market, Sandoval said. “It’s ” mainly economics. Sometimes, no matter how much you like something, you have to make money. We’re starving artists, but totally starving?” Sandoval, whose work has been showcased in museum exhibitions, did well at Traditional Market until the economic downturn. “Everybody loves the stuff I do, but if it doesn’t turn into sales, it doesn’t do me much good. It’s very expensive to build all these pieces and then not have them sell. ” Sandoval’s late father, noted furniture maker George Sandoval, began teaching him woodworking when he was 6 years old. Sandoval later studied contemporary design with Frederico Armijo. Traditional Market’s strict boundaries appeal to Sandoval. “ an artist, it’s kind of good, because you say, As ‘What can I come up with within these limits that’s innovative and creative?’” But Sandoval tested those limits. “I always kind of pushed the envelope, he said. “ ” And they always kind
The hall table and mirror frame were made with poplar wood and covered with a lacquer finish.
Pecos Pueblo, 12 x 24 inches, oil on canvas
Grey Rooster, 8 x 8 inches, oil on canvas board Spanish Market 2 012 37
The Official 2012 SWAIA Guide
Through a Child’s Eyes, 24 x 36 inches, oil on canvas, by Edward Gonzales. This image is featured on the 2012 Contemporary Hispanic Market poster.
a sense of wonder
Poster artist’s work sends positive messages
by arin MCkEnna
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Despite being a poster artist since 1988, Edward Gonzales has never before created a poster for Contemporary Hispanic Market. “I’ve always tried to allow other artists to benefit from it,” Gonzales said. “I have a poster company and do quite well with my posters. And being on the market committee, I’ve always sought to be equitable about how benefits were distributed.” This year the executive committee asked Gonzales to submit, and the committee selected Through a Child’s Eyes for this year’s poster image. In many ways, the painting epitomizes Gonzales’ artistic focus. “A lot of my art has to do with an internal look at the world,” Gonzales said. “It sounds cliché, but the idea of beauty is what I’m going for with my art. Gonzales’ image captures a child’s experience of San José de Gracia church in Las Trampas. While pursuing his fine arts degree at the University of New Mexico, Gonzales became part of the Chicano movement. “The late ’60s was kind of the era of empowerment and a search for identity,” Gonzales said. His activism led him to protest the New Mexico Museum of Art (then the Museum of Fine Arts) for not honoring its commitment to dedicate one exhibit a year to Hispanic art and it led him to co-found Contemporary Hispanic Market in 1990. After graduation, Gonzales was drafted and sent to Vietnam. Upon his return, he contemplated his role as an artist. “I was trying to find a way to really have an impact on society with my art. A lot of Chicano artists were into doing murals, using the Mexican murals as a model, and having this sort of social/political commentary in their art. I felt that wasn’t a relevant way for me to approach affecting society with my art. “So I decided to create art that empowered families and children with the idea that education is what you make of it and then [make] a bunch of posters and [distribute] them. In a way it’s like propaganda for a positive force in society. I thought it would be far more effective than putting a mural on an obscure wall in the barrio. So my idea was to share my life with society with a positive spin. My idea was to improve American society and not tear it down.” To honor Gonzales’ contributions to art, education and Hispanic culture, the Albuquerque Public School Board named Edward Gonzales Elementary School for him in 2004. Gonzales recently donated three of the original paintings for his posters to the school. “I felt it was important for the children not just to be exposed to the posters I do but to see the actual paintings that I produce on a daily basis and what the actual process is and to have an appreciation for my art in that way,” Gonzales said. Gonzales also illustrated two children’s books written by Rudolfo Anaya — Farolitos of Christmas and Farolitos for Abuelo. Despite repeated offers, Gonzales has no desire to do further illustrations. “I just did these two books from the heart because Rudolfo is such a wonderful personal friend and he is able to write about New Mexico. And I just loved the stories.”
2012 Spanish Market
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Oil Painting Booth #129
40 | 2012 Spanish Market
Booth #13 Mixed Media Painting and Woodwork
San Pasqual Carolee J. Friday www.caroleejfriday.com • Booth #111
2012 Spanish Market | 41
Paz - Jewelry Josie Mohr - Paper Cut Art R. Diane Martinez - Pottery Patricia Baca - Watercolor Paintings Joe Santiago - Waterfalls Dan Vigil - Mixed Media Michael Trujillo - Furniture Melissa Dominguez - Photography Tomas Vigil - Acrylic/Spray Paint Paintings Sharon & Adam Candelario - Metal Work Gene Ortega - Oil Paintings Leonardo Segura - Acrylic Paintings & Drawings Eloise M. Estrada - Mixed Media Albert MB Trujillo - Custom Knives & Sheaths Johnny Lorenzo - Acrylic/Oil Paintings Sandra Duran Wilson - Mixed Media Collage Mark Nunez West - Ceramic Tiles Randy Ortiz Martinez - Pastel Drawings James Sandoval - Jewelry Carolyn Barela Maberry Steve Malavolta - Handcut Wood Puzzles Armado Adrian-Lopez - Mixed Media & Paintings Alfred Jitsudo Ancheta - Printmaking, Hand pulled Victoria de Almeida - Acrylic on Canvas Robert Crespin - Photography Darlene Olivia McElroy - Mixed Media Contemporary Hispanic Market Art & Information Booth 73 72 71 70 69 68 67 66 65 64 63 62 61 60 59 58 57 56 55 54 53 52 51 50 49 48 46 134 Charles Michael Salazar - Photography 133 Dina Romero Jay - Oil Paintings 132 Billy Gallegos - Metal Work 131 Andy Valdez - Acrylic Paintings 130 Angelo Torres - Recycled Mixed Media Sculpture 129 Anita Rodriguez - Acrylic Paintings 128 Leah Henriquez Ready - Beaded Jewelry 127 Consulo Pineda Hancock - Photography 126 Omar Ganzo - Mixed Media Paintings on Wood 125 Catherine Baca - Mixed Media 124 Victor Duran - Mixed Media 123 Carolyn Flores - Acrylic Paintings 122 Dona Calles - Metal Work 121 Claudia Chavez - Beaded Jewelry 120 Leroy Fresquez, Jr. - Recycled Art 119 118 117 116 115 114 113 112 111 110 Eduardo Chacon - Photography Jeremy "Elmer" Sedillo - Graphite Drawings Monica Mondragon - Textile Quilts John de Jesus - Woodworking Debora Duran-Geiger - Ceramic Tiles Jerome Garcia - Acrylic Paintings Patrick & LuAnn Baca - Fused Glass Jewelry Gabriel Cisneros - Drawings Carolee J. Friday - Traditional Photography Eric Rivera - Metal Work
Contemporary Hispanic Market
L I N C O L N A V E N U E
Gilberto Romero - Metal Sculpture Teresa Gutierrez - Woodworking Joseph Galvan - Furniture Mark Jimenez - Jewelry Gilberto Olivas - Clay Pottery 45 44 43 42 41 40 39 38 37 36 35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 82 Ralph E. Roybal - Bronze Sculpture 81 William A. Gonzales - Printmaking 80 Steve Reyes - Pastel Paintings 79 Vincent Ortega - Mixed Media/Mosiacs 78 Charles Cortez - Drawings 77 Jerry Montoya - Reposse & Mixed Media Art 76 Julian Romero - Wood Relief Art & Sculpture 75 Judy Ortiz - Oil on Linen & Monotype Prints 74 Robb Rael - Gouache Paintings
booth locator map
Matthew Gonzales - Bronze Sculpture/Drawings Raymond Sandoval - Paper Mache Sculpture David EM Garcia - Metal Work Josephine Brionez de Flores - Mixed Media Masks Ron Rodriguez - Wood Carvings Yavanne C. Jaramillo - Furniture/Metal Work Steven Vigil - Drawings H. Cordova - Pit Fired Sculpture Adrian Martinez - Wood Inlay Sculpture Debra Montoya - Mixed Media Mosiacs Billy Kavanaugh - Bronze Sculpture Jacob Tarazon-Matteson - M/M Collage & Printmaking Jerry Duran - Knives John F. Perea - Metal Art Peggy Chavez - Fiber Textiles Eduardo Reyes - Sculpture Anthony Fernandez - Oil on Canvas Marion Martinez - Mixed Tech. Jewelry, Sculpture, Wall Art Eric Martinez - Oil on Canvas Christopher Martinez - Photography Pamela Enriquez-Courts - Metallic Acrylic Paintings Catalina Delgado-Trunk - Papel Picado Miller Lopez - Oil on Linen Clarence Medina - Oil Paintings Bernadette & Oscar Caraveo P O R T A P O T T I E S Michelle Ferran - Watercolor Paintings Mike Vargas - Mixed Media Oil on Paper Edwin Rivera - Mixed Media Michelle Tapia - Jewelry Victoria Rodriguez - Mixed Media Paintings L. Marty Martinez-Lorenzana - Mixed Media & Acrylics Jason Salazar - Woodworking, Carvings Richard Sandoval - Watercolor Paintings & Sculpture Ramona Vigil-Eastwood - Handcrafted Jewelry Edward Gonzales - Paintings/Printmaking/Drawings Damien M. Gonzales - Oil Paintings David Vega Chavez - Watercolor Paintings Melecio Fresquez - M/M Painting & Woodworking James Roybal - Bronze Sculpture/Pastels/Oil Paintings AnaMaria Samaniego - Print Making
UNDERGROUND PARKING LOT
109 Art Tofoya - Jewelry 108 Joseph Mark Chavez - Chainsaw Sculpture 107 106 105 104 103 102 101 100 Vilis Shipman - Micaceous Pottery Mario Vargas - Sculpture Michael Veloy Vigil - Acrylic & Mixed Media Robert Romero - Sculpture Guilloume - Sculpture & Oil Paintings Joseph G. Cordova - Custom Knives Evangelina Porras Sanford - Glass Art Kenneth M. Chavez - Mixed Media
99 Maria Serrot - Ceramics
L I N C O L N A V E N U E
98 David Trujillo - Sculpture 97 Mary Ellen Fresquez Blea - Gourd Art 96 Chris Sandoval - Furniture
95 Amado Pena - Oil/Acrylic Paintings & Printmaking 94 Gilbert Candelaria - Mixed Media Recycled Art 93 Dolores M. Aragon - Pastel Paintings 92 Richard Guzman - Oil on Linen 91 Roberto Salazar - Oil Paintings 90 Diane Romero Mattern - Fiber Textile Quilts 89 Cynthia Cook - Mixed Media 88 Joey Montoya - Airbrush Paintings 87 Martin Gonzales - Bronze Sculpture 86 Robert Sandoval - Metal Work 85 Vicente Telles - Mixed Media Paintings on Metal 84 Amadeus Leitner - Photography 83 Keith Garcia - Metal Work & Mixed Media Knives
2012 Spanish Market
p a z. Donde haya odio, dejame sembrar amor; Donde haya injuria, perdón; Donde haya duda, fe; Donde haya desesperción, esperanza; Do n d
e h aya obscuridad, luz; Y donde haya tristeza, gozo. O Divino Maestro, concédeme que no busque ser consolado sino c o n
s o lar; ser entendido sino entender; ser amado sino amar. Porque es en el dar que recibimos, es en perdonar que somos perdonados, y es m u
Ramón José López
Grabados en Cobre Copper Engravings
Cuatro Apariciones de Nuestra Señora de Guadalupe. Copper Plates 8” x11”
M Ó N J O S É LÓ PE Z
Good Hands Gallery
r i e ndo que nacemos a la vida eterna.
Ramón & Bo López Spanish Market Booth 115
3233 Paseo del Monte Santa Fe, New Mexico, 87501 505.988.4976
Miller N. López - Contemporary Market Booth 24
Photos: Lynn Lown
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